Started by Todd, April 06, 2007, 07:22:52 AM
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Quote from: Todd on December 11, 2022, 05:04:46 AM Why sample one symphony by a composer when one can sample a nice, even dozen? Leopold Koželuch is not new to me. I've worked my way through one and one-third keyboard cycles and listened to a couple discs of string quartets. In each instance, Koželuch impressed me as a classical era composer a cut above most I have heard, though not rising to the level of the best by Haydn or Mozart. And so it goes here. Really, the most concise way to describe the symphonies is that all twelve are basically on par with Haydn's Sturm und Drang era works, or Mozart's that number in the high 20s or low 30s numerically. So very high quality indeed. He seems to have written about thirty symphonies. I should like to hear more.Superb playing and sound.
Quote from: Brian on December 12, 2022, 10:22:29 AMTarrodi, by the way, is the daughter of trombonist-composer Christian Lindberg, which helps explain her easy entree into both Scandinavian orchestras and BIS Records.
Quote from: Kristjan JärviThere is no nepotism in classical music.
Quote from: Todd on December 18, 2022, 10:58:42 AM Rather like with the threefer of Koželuch symphonies, why sample only some of Josef Mysliveček's violin concertos when you can sample a big ol' slug of 'em? Or more precisely, all of them. This twofer contains all eight of the Czech composer's violin concertos, with soloist Shizuka Ishikawa fiddling away. Ms Ishikawa won various awards way back when, up to a half century ago, and then she proceeded to make multiple recordings for Supraphon, with very good to excellent results. I picked up a couple of her recordings of core rep early in the year, so this reissue of recordings made in the 80s seemed like a good idea. Also like with the Koželuch works, these concerti do not ascend to the top of the repertory heap qualitatively. The first concerto sounds rather ho-hum, for instance, but things pick up in the second, and more or less maintain a generally high level of quality, even if nothing stands out, and nothing emerges as a timeless masterpiece. Everything is tuneful, attractive, fairly energetic, well structured, and well proportioned. It all makes for a pleasant listen, and I mean that in a purely positive way.Libor Pešek conducts the Dvořák Chamber Orchestra expertly, and the band plays expertly. Sonics are excellent for the era, and the engineers obviously favored heavy multi-miking, with ample spotlighting, and that works just fine.
Quote from: Todd on January 22, 2023, 05:32:38 AMRebecca Dale, apparently the first female composer signed by Decca, is a young-ish British composer (under 40) who wrote this Materna Requiem in memory of her mother, who passed away in 2010. This Requiem rates as the gentlest, most melodically beautiful one I've ever heard. Even Faure sounds rough by comparison.
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